Posters-at-the-Capitol 2017 Program Booklet

Posters-at-the-Capitol 2017 Program Booklet Contents: Welcoming Remarks Posters-at-the-Capitol Organizing Committee Welcome Letter from Mr. Robert King Schedule of Activities Mezzanine Map Participant Listings Eastern Kentucky University Kentucky State University Kentucky Community & Technical College System Morehead State University Murray State University Northern Kentucky University University of Louisville University of Kentucky Western Kentucky University Programs of Distinction Student Abstract

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

The Materiality of Text and Body in Painting and Darkroom Processes: An Investigation through Practice

Merged with duplicate record 10026.1/567 on 14.03.2017 by CS (TIS)This research study ennploys practice-based strategies through which material processes might be opened to new meaning in relation to the feminine. The purpose of the written research component is to track the material processes constituting a significant part of the research findings. Beginning with historical research into artistic and critical responses to Helen Frankenthaler's painting, Mountains and Sea, I argue that unacknowledged male desire distorted and consequently marginalised reception of her work. I then work with the painting processes innovated by Frankenthaler and relate these to a range of feminist ideas relating to the corporeal, especially those with origins in Irigaray's writings of the 1980s. The research involves three discrete bodies of work. The first, Inscriptions, explores the relation between visual processes and textual ideas. The second, Screen / Paintings, is a re-enactment of formalist decisions that attempts to recover the body in the work. The third, Photoworks, is an attempt to 'jam' vision whilst redirecting process through the unconscious and touch. Each body of work gave rise to a practice text. In these texts, ideas that informed or were triggered by making are unearthed. Material processes are understood as a reiteration of themes (or issues) in relation to the feminine. These include: the relation between text and the visual, corporeality in making, the interplay between conscious and unconscious processes, and control / uncontrol. These ideas are reformulated in each body of made work. My approach maps out a method of working that is non-predictive and deliberately situated on the margins of control

Students’ understanding of evidence in science through studying paradoxes and the principle of falsification

This thesis explores how students can come to understand the relationships between evidence, theory and logic within the field of science. I develop the role of the study of paradox as a teaching practice. I seek to ascertain the role that this type of study offers the development of students’ evidentiary logic and I question whether studying paradoxes can enhance students’ capacity to articulate their understandings

Smell of Heritage

We don’t know much about the smells of the past. Yet, odours play an important role in our daily lives: they affect us emotionally, psychologically and physically, and influence the way we engage with history. Can this lead us to consider certain smells as cultural heritage? And if so, what would be the processes for the identification, protection and conservation of those heritage smells? In order to answer these questions, the connection between olfaction and heritage was approached through the framework of Significance Assessment – Chemical Analysis – Sensory Analysis – Archiving. Four case studies were developed, each around a different smell: old books and historic libraries; scented conservation wax, historic pot-pourri, and mould. Through them, the validity of the framework was tested, while exploring associated aspects of olfaction in heritage: authenticity, value in connection with visitor experience and interpretation, considerations around historic odour reconstruction and role of non-sensory input in historic odour perception. Odour characterisation was achieved by chemical analysis of the volatile organic compounds (VOC) for each case study, using either HS-SPME-GS-MS or HS-TD-GC-TOF-MS. Sensory characterisation was obtained via GC-O and odour evaluation panels. Visitor experience surveys were also conducted in a historic house setting. Smells were documented using odour wheels and other forms of visual representation. Some findings of this study worth discussing are: (1) the perception of authenticity in historic odours is not necessarily linked to a chemically-accurate reconstruction; (2) several historic odours present an ambiguity that lead to characterisation being significally modulated by both sensory and non-sensory information and (3) there is a great potential for non-visual engagement of visitors with the space and collections in heritage institutions, currently untapped. This is the first systematic study of olfaction in heritage and therefore its insights will be relevant to the heritage community, as well as engaging with current research in the field of odour perception, interpretation and representation